scholarly journals Art and History, 1969–2019

2020 ◽  
Vol 50 (4) ◽  
pp. 567-586
Author(s):  
Peter Burke
Keyword(s):  
Case Studies ◽  
Art History ◽  
Turning Point ◽  
Art Market ◽  
Half Century ◽  
The Reformation ◽  
Art Historians ◽  
1960S And 1970S ◽  
The 1960S

The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answer the question, What is Art?

Approaching the Mughal Past in Indian Art Criticism: The case of MARG (1946 –1963)

2012 ◽  
Vol 47 (1) ◽  
pp. 167-203
Author(s):  
DEVIKA SINGH
Keyword(s):  
Cultural Identity ◽  
Art History ◽  
Art Criticism ◽  
Art Journal ◽  
Art Historians ◽  
History Of ◽  
The 1960S ◽  
Art And Architecture ◽  
Indian Art ◽  
Contemporary Artists

AbstractThe paper examines the model value of the Mughal period in MARG, the leading art journal of 1940s and 1950s India. It combines a discussion of some of the key historiographical questions of Indian art history and the role played by specific art historians, including European exiles who were among the contributors to the journal, with broader questions on the interaction of national cultural identity with global modernism. In this context, the Mughal period—celebrated in MARG for its synthesis of foreign and indigenous styles—was consistently put forward as an example for contemporary artists and architects. From its inception in 1946 until the 1960s the review favoured a return to the spirit of India's prestigious artistic past, but not to its form. Its editorials and articles followed a clearly anti-revivalist and cosmopolitan line. It aimed at redressing misunderstandings that had long undermined the history of Indian art and surmounting the perceived tensions in art and architecture between a so-called Indian style and a modern, international one.

scholarly journals Is Art History of China Useless in a Pandemic?

2020 ◽  
Vol 10 ◽  
Author(s):  
Feng He Schöneweiß
Keyword(s):  
Case Studies ◽  
Art History ◽  
Real Life ◽  
Chinese Art ◽  
Life Crisis ◽  
Cultural Aspects ◽  
The Core ◽  
Chinese Studies ◽  
Art Historians ◽  
History Of

The study of Chinese art has long been a specialised field bridging the disciplines of art history and Chinese studies. This essay challenges, as always in a real-life crisis, the usefulness of art history of China in the current Covid-19 pandemic. The agency of art historians is put under the historiographical grill. Through two brief case studies, the essay argues that art historians, though as mortal and fragile, are actually professionally equipped to strike the core consequences of the pandemic in its social, political, and cultural aspects.

scholarly journals L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70

2019 ◽  
pp. 399-413
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Cultural Theory ◽  
Academic Discipline ◽  
Theoretical Background ◽  
New Developments ◽  
Critical Thought ◽  
Academic Knowledge ◽  
Art Historians ◽  
The 1960S ◽  
The University

The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.

Part II: Port Systems

2007 ◽  
Keyword(s):  
Early Modern ◽  
Case Studies ◽  
Early Modern Period ◽  
Northern Chile ◽  
Global Issues ◽  
Modern Period ◽  
Mining History ◽  
Port Systems ◽  
1960S And 1970S ◽  
The 1960S

This section consists of four essays that explore port issues from national perspectives, balanced against international and global issues, and local political and geographic concerns. The case studies explore the following topics: the northwest Portuguese seaport system in the early modern period; discourse and container revolution in Finland in the 1960s and 1970s; the ports of northern Chile in relation to its mining history; and the globalisation and privatisation of the ports of Turkey.

Pietro Germi, Hybridity and the Roots of the Italo-Western

2016 ◽  
Author(s):  
Pasquale Iannone
Keyword(s):  
Case Studies ◽  
American West ◽  
Popular Cinema ◽  
The Law ◽  
1960S And 1970S ◽  
The 1960S ◽  
Spaghetti Westerns

This chapter examines Western tropes in Italian cinema's ‘neorealist’ phase. Taking as key case studies In the Name of the Law (In nome della legge, Pietro Germi, 1949) and The Bandit of Tacca del Lupo (Il brigante di Tacca del Lupo, Pietro Germi, 1952), it explores the complex ways in which Germi worked references to American genres into his work, thereby debunking approaches presupposing an Italian neorealism separated from ‘popular’ cinema, and demonstrating an oft-overlooked precursor to the Spaghetti Westerns of the 1960s and 1970s. Identifying in Germi's two films a representational equivalence between the Italian South and the American West, the chapter charts a lineage of tales of banditry that blended the international and the local.

scholarly journals Party Organizational Response to Electoral Change: Texas and Arkansas

1994 ◽  
Vol 15 ◽  
pp. 191-212 ◽  
Author(s):  
Andrew M. Appleton ◽  
Daniel S. Ward
Keyword(s):  
Case Studies ◽  
Republican Party ◽  
Organizational Response ◽  
Organizational Practices ◽  
Party Organizations ◽  
Organizational Attributes ◽  
Time Period ◽  
Electoral Change ◽  
1960S And 1970S ◽  
The 1960S

This article examines the ways in which state parties have responded to changes in patterns of electoral competition. We contend that parties have tended to alter their organizational practices not only in anticipation of future elections, but also as a function of previous ones. The data are formed by case studies of the Republican parties in Texas and Arkansas in the 1960s and 1970s. The sources of much of these data were the records of the parties themselves. This time period was chosen as it represents a dynamic period for Southern parties when the electoral landscape of the region was transformed. Both Republican party organizations were faced with opportunities that resulted from unanticipated election victories; however, the Texas party was more successful in capitalizing on this opportunity. We explain this by a number of organizational attributes.

Modes of Making Art History

2015 ◽  
Vol 1 ◽  
Author(s):  
Maria Bremer
Keyword(s):  
Case Studies ◽  
Art History ◽  
Historical Study ◽  
Art Historians ◽  
Selection Of ◽  
Making Art

As art history further questions its fundamentals, the exhibition format continues to lose its neutrality. In the preface to the second volume of his compendium, Biennials and Beyond – Exhibitions that made art history: 1962–2002, Bruce Altshuler leads the increasing interest by art historians for exhibitions back to the insight that “exhibitions bring together a range of characters, who, exercising varied intentions in diverse circumstances, generate so much of what comes down to us as art history.”[1] However, the academic rewriting of selected shows is itself subjected to norms which, given their canonizing effects, must be taken into consideration. This article does not intend to question the art historical study of exhibitions tout court. Rather, it criticizes the selection of case studies according to a logic of masterpieces while excluding exhibitions which are regarded as not having made art history. In fact, the different modes by which exhibitions can shape art history require further analysis, eventually casting new light on events which have not hitherto entered the canon of relevant shows.

Artefacts

2010 ◽  
Author(s):  
Rodney Harrison ◽  
John Schofield
Keyword(s):  
Material Culture ◽  
Case Studies ◽  
Small Scale ◽  
Late Modernity ◽  
Contemporary World ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One ◽  
Contemporary Past ◽  
The Relationship

In the Wrst part of the book we considered a number of influences on the emergence of an archaeology of the contemporary past, from the interests in contemporary small-scale societies that developed as part of the New Archaeology in the 1960s and 1970s, to the use of contemporary case studies to address particular archaeological debates about the relationship between material culture and social behaviour posed by post-processual archaeologists in the 1980s and 1990s. We have seen how the archaeology of the recent past began with a focus on the First and Second World Wars, and then the Cold War, eventually to encompass a Weld that is concerned with the archaeology of a much wider range of events that have only just passed or are still occurring today (e.g. Penrose 2007). In Chapter 3 we looked in detail at the sorts of Weld methodologies that are being applied by archaeologists of the recent and contemporary past, considering whether their Weld methods might be understood to be distinct from other forms of archaeology. In Chapter 4 we looked at the relationship between archaeology and other disciplines that focus on contemporary materiality, in particular anthropology, material culture studies, art, and documentary photography. And in Chapter 5 we explored some reasons why archaeologists might have developed an interest in the contemporary world, and the period of late modernity in particular, through an exploration of some of the conditions of late modernity that make it distinct from the periods that precede it. In the second part of the book, we look in more detail at how we might approach the archaeology of the contemporary world, with reference to a series of case studies. As you read through this second part, you will notice that one of its distinguishing features is its dual perspective. We consider on the one hand places and material practices that are essentially extinct or have ceased to function, and on the other those places and practices that are still functioning, or, in Tim Cresswell’s (2004: 37) words, are ‘still becoming’.

The Biblioteca Berenson at Villa I Tatti

2008 ◽  
Vol 33 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Michael Rocke
Keyword(s):  
20Th Century ◽  
Art History ◽  
Historical Research ◽  
Italian Renaissance ◽  
Renaissance Studies ◽  
Art Historians ◽  
The 1960S ◽  
Personal Library

Although it began as the personal library of one of the most influential art historians and connoisseurs of the last century, the Biblioteca Berenson now has a broad interdisciplinary scope that goes far beyond art and art history. As the library of Harvard University’s Center for Italian Renaissance Studies since the 1960s, it has become a major resource for research into all aspects of the society, culture and thought of Italy between about 1200 and 1650. Nonetheless the Berenson Library offers rich and often unique resources for art historical research, both on the Renaissance and on the 20th century.

scholarly journals A New “Vision”: Early Works of Ahmad Aali and the Emergence of Fine Art Photography in Iran (1960s–1970s)

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Elahe Helbig
Keyword(s):  
World War Ii ◽  
Art History ◽  
Fine Art ◽  
History Of Photography ◽  
Artistic Medium ◽  
Art Photography ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S ◽  
Social Agendas

AbstractThis article explores the emergence of fine art photography in Iran during the 1960s and 1970s, bringing to the fore the significance of Ahmad Aali and his early photographic works for this transformation. It sheds light on the confluence of the main trajectories that paved the way for the formation of fine art photography in Iran, firstly by exploring historical practices of photography, secondly by addressing the influences of transforming political and social agendas after World War II on photographic developments, and finally by underlining the involvement of photography in the artistic sphere of that time. Central to the latter is Aali’s contribution to theoretical discourses about photography as an artistic medium and the major role he played in the first photographic exhibitions in art spaces. In that perspective, this article argues for the pivotal role of Ahmad Aali in bridging the gap between photography and art for the first time in Iran’s long history of photography. It analyses Aali’s photographic works exhibited during the 1960s and 1970s to comprehend the circumstances of the emergence of fine art photography in Iran, and does so by discussing the modernist aesthetics in photography that emerged at the time. Going beyond Aali’s regional importance, it examines his conceptual approaches to overcoming the ‘static realism’ and the limitations of the medium. Aali’s novel photographic concepts of space and time that emerged therefrom should be accorded their full autonomy and uniqueness in the (re-)writing of a narrative of art history on their very premises. This article thereby seeks to support a critique of the narrow epistemological boundaries of the discipline of art history and its resulting marginalization of locally developed art forms and concepts.

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